Monday, October 31, 2011

First Post from France 2011



For this first attempt, I’ve collected fragments from notebooks, letters, emails and postcards to friends and family, which, I think I can say, sum up my first month living in France (I hope I’m not breaking anyone’s trust in my sincerity by cutting up what I wrote to you and pushing it on the internet, friends. I still meant it for you.)




I don’t know if it was lack of sleep, dehydration, or the dry, recycled air of the plane’s cabin stealing its way into my lungs, but in a state of half-asleep reverie that night I missed you so hard I ached. It wasn’t until an hour before landing at CDG, when the civil war drums of “Perth,” the opening track off Bon Iver’s recent s/t, seemed to announce the arrival of morning in Paris, that it hit me what sort of journey I had hastily begun earlier that day; and it wasn’t until track three that I realized all would be okay.

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I work about twelve hours a week here. The rest of my week is generally spent trying to find time and motivation to study for the GRE, doing errands (which always takes a while without a car), trying to catch up on the happenings of the real world (which is tedious with limited internet access), and preparing for my classes. On Tuesdays and Thursdays I have an MMA course at the military school next door—I really lucked out with the chances of that happening. My hours are often spread throughout a day, with a gap of one to three hours between classes, or sometimes I only have classes in the morning, so working just a few hours often takes up half a day or an entire day.

The school itself, in response to Catholic resistance and a need for a school for the children of military officers, was built out here in the boonies in the 1970s, the era of the renowned “Modern” style of architecture (ring a bell, Greeners?). Following suit, all the buildings are drab, concrete rectangles of scholastic seriousness. Joy!

I work with high school age people from the French equivalent of Freshman/Sophomores to post-Baccalaureate, kind of community college-ish, but more job-oriented, students of 18 to 22—my age. I have only half the class each week, for 55-minutes, so my work is in two-week cycles. It’s an interesting mix of levels of English ability and various levels of self-consciousness in using their spoken English, with the younger students often more willing to speak than the kids closer to my age!

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Outside of what I've been doing: how I've been. I miss people, connectivity: feeling connected with people’s lives. There are days when I'm fed up with the tedious little details of working and living at a (French?) high school, and would like to vent to a friend, in English on Skype, but can't. There are times when I tell myself I should drink less, and spend my money on honest things, and other times when all I want is a strong drink. There are feelings that I’ve felt before and there are those that are new, and not always pleasant smelling. Yet, too, there are moments, frozen, when I can but stand, slack jawed, staring at a piece of stone, at how tangible, how old it is, and how important it must have been for people so long ago to have moved something so large. There are nights when I lie awake in bed, starting at a bare light bulb, feeling isolated deep in the geography of a foreign land, and there are nights when I drink from 0.39€ half-liter cans of German lager, playing cards with the roommates and I laugh and laugh and laugh.

My roommate Jimmy is thirty years old but this is really his first incidence of spending any time away from home, and he misses Piura, Peru, he tells me, like I miss burritos, Streets to Ride, your smells and crinkled brows.

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Send me letters and postcards, friends. Draw me pictures. They will paper my walls, and I will stand, slack jawed, staring at pieces of paper, at how tangible, how real they are, and how important they must have been for people so far away to have sent them here.

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P.S.



Saturday, April 9, 2011

Cinema

Whereas most of the movies I watch are 80s action hits or quirky 90s comedies on VHS; disregarding the fact that I find myself using space on my hard drive to store weird artsy and/or French films that I specifically scour the interwebs for before forgetting about them and finally watching them 3 months later; not to mention that I rarely, rarely go out to see them in the theaters, I really like the feature-length film as an art form. And sometimes, randomly, I get stoked on film.

Here
is a review of the film HANNA from BadassDigest. It's from the director Joe Wright, who did Pride and Prejudice and Atonement, but as BadassDigest cites,
With Hanna, as good an action movie as anyone has made in the last ten years, Wright proves that he’s not going to be stuck in some sort of artsy-fartsy, vaguely chick film box.

Which is funny because Hanna is kind of artsy-fartsy and more than vaguely a chick film, but it’s one that kicks so much ass, is so exciting and thrilling and awesome, that many folks might simply miss the fact that Wright didn’t just make a really good action film, he made a really good film, with resonant themes about growing up and characters who are defined beyond their ability to kill with their bare hands.

It's got a sort of Princess Mononoke vibe to it, crossed with The Bourne Identity and the Chemical Bros are doing the soundtrack. Anyway, here's the trailer:




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Sidenote:

Saorise (pronounced "sear sha"!) is probably the prettiest name I have heard in forever. Those Irish. And their pretty names.


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Also, disregarding all previous statements, I will always dote on Natalie Portman and thus two weeks ago I finally say Black Swan (as I'm the last person ever to have not seen this film) and soon I will be seeing Your Highness.

This movie
strikes home for me in many ways, including, but limited to: my penchant for quests and comedies about said quests (see: Princess Bride), magic, R-rated comedies, Natalie Portman (see above), the mannerisms and voice (and apparently the quill--he wrote this movie!) of the lovely and always hilarious Danny McBride, and lastly, slow motion action shots.





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Thursday, March 24, 2011

"The individual has collapsed, and language with him."

"People are scandalized, as they ought to be.

The apparent frivolity of 'Friday' is only its most cunning aspect, a bubble-gum Trojan horse containing a radical text throwing itself against the gears of a death-bound society. And in Ms. Black’s voice we hear the full cry of a revolutionary age, Benghazi echoing across Orange County, the ancient wail of all who have ever wanted more."




So Rebecca Black's "Friday" has gone viral and all that shit.
But instead criticizing Ark Music Factory and all its evilness, I'd like to post this amazing article by The Awl's Dana Vachon, entitled "Arms So Freezy: Rebecca Black's 'Friday' As a Radical Text."

"She offers the camera a hostage's smile, forced, false. Her smoky eyes suggest chaos witnessed: tear gas, rock missiles and gasoline flames. They paint her as a refugee of a teen culture whose capacity for real subversion was bludgeoned away somewhere between the atrocities of Kent State and those of the 1968 Democratic Convention, the start of a creeping zombification that would see youthful dissent packaged and sold alongside Pez and Doritos.

'Look and listen deeply,' she challenges. An onanistic recursion, at once Siren and Cassandra, she heralds a new chapter in the Homeric tradition. With a slight grin, she calls out to us: 'I sing of the death of the individual, the dire plight of free will and the awful barricades daily built inside the minds of all who endure what lately passes for American life. And here I shall tell you of what I have done in order to feel alive again.'"

----------->Here it is in all its glory.
I haven't laughed so much at an essay since "A Modest Proposal."

Grammarless and hungry.
Adam



Monday, March 14, 2011

Everyone has an inner Zef







I've had a huge cultural-context/intellectual/aesthetic boner for Die Antwoord for a while now, but only recently started digging beyond Max Normal.TV level research.
I've been reading a lot articles from last February, right when they got big across the interwebs. I like to think all this is more interesting to think about a year later. Retrospection.



"But it's a big old prank, right? It's not realllllllll!"


Gangsta skillz and next level beats aside, you can call Ninja and Die Antwoord a hugely successful prank on unsuspecting music and culture nerds worldwide, Ali G style, as NY Magazine so eloquently eludes: "Because Ninja has performed under different personae, it was then assumed Die Antwoord was an elaborate prank; if that's the case, we salute his commitment to a strangely enticing character."

But I think it's more than that.



Context is a key word in all discussion I've encountered about Die Antwoord, accusatory, acclamatory or apathetic. One the reasons I like them so much is that Die Antwoord is a big ironic smile in the face of the ignorant West (also, they're fucking weird). Their exoticism and huge non-verbal cultural statements work so well because we don't know shit about modern South African culture: http://www.youtube.com/watch?v=6Djj9aNHwj4 @ 0:15

From Waddy Jones' wikipedia article: "Die Antwoord appears to some to be a presentation of entertainment personas rather than that of intrinsic and authentic cultural identities." Fuck that. Every performer has an "entertainment persona." If meat-dress-wearing Lady Gaga is an authentic cultural identity, then so is Die Antwoord. "Life as art, art as life." These people know what's up and are more committed to that notion than Nietzsche, Warhol or Germanotta ever was.



In the end, an article by Richard Poplak in Canada's The Walrus Magazine (and it's brilliant follow up) pretty much sums it all up about Die Antwoord, race issue and all: "By moving to the [Cape Town] flats and buying wholesale into local gangsta culture, Waddy is reframing South Africanism anew. While Afrikaans punks positioned themselves in opposition to the ultra-conservative, Calvanist ethos of die volk, what Die Antwoord are doing is not an act of rejection, but an act of embracing."

"All that remains is to widen the context," he says.

Die Antwoord is huge. They are like Gorillaz in real life. They are live action Seffrican Ninja Turtles. They are exported-hip hop
Otherness fucked into Lady Gaga and made into a lifestyle. This is real, and you've never seen zef so fresh.



Full flex,
Adam

Tuesday, March 8, 2011

The "to come"





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rechercher:
RRRRRRROOOOOOOOMMMMMMME

« inspirés et joyeux et vifs comme des jeunes loups en quête de proie »

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Robin Williams' 1990s,
Adam

Sunday, February 27, 2011

It's all just pictures of dead rabbits.





myx·o·ma·to·sis

[mik-suh-muh-toh-sis]
–noun
1.
Pathology .
a.
a condition characterized by the presence of manymyxomas.
b.
myxomatous degeneration.
2.
Veterinary Pathology . a highly infectious viral disease of
rabbits, artificially introduced into Great Britain and
Australia to reduce the rabbit population.
Origin: 1925–30; < Neo-Latin myxomat- (stem of myxoma; see myx-, -oma) +

I've always loved this word.



It's all just pictures of dead rabbits.



Flockalyptic,
Adam



Monday, February 7, 2011

Meaning is differential, not referential.


And he sings and he walks and in swirl of liquid song he loses himself in the rain:


Last week I found a really cool set of portraits of Australian criminals from the 1920s. Not exactly the standard mugshot, but very factual nonetheless. Incredibly fascinating. And the quality of the prints is amazing. Large format--gotta love the grain.
(from this book)

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French-Canadian actress Geneviève Bujold (b. 1942) on a bicycle:


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"L'or et rose" by Polish painter Andrzej Malinowski (b. 1947). It seems that after a career in advertisement, Malinowski found his creative outlet in painting and moved to Paris. From what I can gather it seems he paints almost exclusively red-haired nudes. A hyperrealist, almost, someone described his style as owing as much to the pre-Raphaelites as to art nouveau :

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Apt; felicitous; befitting: from the International Space Station's Coupole observatory, Egypt's Nile Delta. Shit is going down right now in those brightest areas. (
Salma El-Tarzi, an activist in Tahrir Square:
"This is not a revolution made by the parties. The parties have been there for 30 years and they've done nothing. This is the people's revolution.")




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Lastly, I've done it, guys. I've found the greatest image on the internet. Here it is. You're welcome. I can't believe I did it:



Apollonian,
Adam